


My Glee west side story

by AmandaBeth



Category: Glee
Genre: F/F, F/M, M/M
Language: English
Status: Completed
Published: 2018-04-09
Updated: 2018-04-09
Packaged: 2019-04-20 20:16:50
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 9
Words: 14,715
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/14268720
Author URL: https://archiveofourown.org/users/AmandaBeth/pseuds/AmandaBeth
Summary: I was unhappy with what they did so I've worked in this for 2 weeks to make it the way I want it.





	1. Chapter 1

Glee my version of West side story

Authors note: so I hate how Artie was forced into being a director. Mercedes still quit new directions do to Mr.Schue at booty camp but that's slightly before the play auditions

Disclaimer: I don't own Glee

So booty camp started a week before the auditions for West side story. Though they'd continue through time of play. Mr.Schue said," I will not be directing the play this year Ms.Holiday will be." 

Ms.Holiday came in and said," Ok so for the play this year it will be West side story. I encourage anyone with any interest to audition." She kind of looked towards Blaine and Artie when she spoke this. She then continued, "All roles are open whoever earns whatever role that's the role you get. So audition to best of your ability. Even it means mixing it up a bit. Auditions start at 4 p.m tommorow." With that she left the room and Glee rehearsal began.

The next day at 4 p.m most of Glee kids came to audition. Though Finn opted out because he was afraid he'd hurt someone trying to dance in a play. Mike opted out inspite of Tina's encouragement partially because of his dad and partially because of Artie deciding to audition. Brittany decided just to support Santana. 

Kurt auditioned first with greatest star. Then Rachel with somewhere. Then Blaine auditioned with somethings coming. Puck was next he opted to audition with an excerpt from the script. Then Mercedes auditioned with out here on my own. Then Artie auditioned with Don't let the stars get in your eyes. Rory,Quinn and Sam just auditioned with very now songs nothing to write home about. Then Santana auditioned with a boy like that. Tina sang some 1960's song that really didn't go with West side story. Everyone was kind of nervous about auditions but no one talked back stage while waiting for there turn. It was tough because they where only given few hours to prepare the night before and maybe in morning before school if woke up early enough.

Two days later the cast list went up.

Tony:Blaine  
Riff:Artie  
Bernardo:Puck  
Maria is now Mario:Kurt  
Anita: Santana  
Shrank:non glee kid  
Krupke: non glee kid  
Jets: Rachel,Rory and Sam. 3 non Glee girls and 3 non Glee guys.  
Sharks: Mercedes,Tina and 3 non glee guys and 3 non Glee girls.

The date of rehearsals was to start Monday it was Thursday.Everyone who auditioned was at the sheet as soon as it went up. Blaine turned to Artie and said,"I think we should spend some time together this week so we can feed off each other well."

Artie said,"That sounds fine to me if Kurt doesn't mind." 

Kurt said,"That's fine. Gender swaped Maria. I am Mario gay west side story so cool." 

Rachel stomped her foot and said,"How dare I get such a minior role. My talent so isn't being appreciated. How unfair." 

She continued doing this down the hall till she found Finn to complain to. Finn said," I know,I know but there are only so many roles to go around. It's someone elses time to shine."

Rachel huffed then Finn wrapped her in a hug. Mercedes was definitely disappointed. However Rachel's rant made Mercedes actually angry. She wasn't angry that Kurt got Maria as Mario. It was fact Rachel felt like she wasn't appreciated. Mercedes balled and unballed her fist a few times then walked away. She was pissed mostly because of Rachel and still kind of angry at Mr.Schue for booty camp and getting kicked out of glee club. Puck said," Bernardo I can be cool with that."

Santana said," Of course Anita was so the part made for me."

The main role where to get there script packet that day after school it was hard highlighted what there lines where. The minior roles tommorow as they where not in that many scenes. They where to quickly to learn it was edited abridged version. Artie,Blaine and Kurt head to the auditorium to pick up there scripts. Puck had to go to his locker for some reason. Santana had gone off for a quick celebration with Brittany in janitor's closet before collecting her script.

Artie asked," Blaine do you want to come over to my house today or tomorrow?"

Blaine said,"I was thinking you could come to mine."

Artie said," I don't know about that."

Kurt said," Blaine I think it will be easier for Artie at his place his parents have things set up to make it easier for him. It's very great that you just see a new friend but the chair can't be 100% invisible. There are things it effects like getting in a house with steps."

Artie said,"Thanks Kurt."

Blaine said,"So how about I come over for sleepover tonight? That way we can really spend a lot of time together. I can learn a few things."

Artie texted his mom real quick then said," My mom said it's ok. My dad will get us after Glee and we will swing by your house so you can get your PJs and sleeping bag if you need one."

The three grabbed there scripts and booked it to the choir room. They where not the last to arrive. Puck was for unknown reasons.


	2. Chapter 2

Glee my version of West side story ch2

Disclaimer: I don't own Glee

Rachel was still kind of fuming in Glee club. Mr.Schue started rehearsal. When Mr.Schue wrote who was doing what for regionals Artie glanced back at Blaine. No one made a fuss. They'd fine tune everything next week after school play. This was just to give everyone idea of his plan.

Later at Artie's house Artie said," Blaine I'm not sure I can do all this. It's a lot a lead part in the play. We have to duet at sectionals and we have big leads in group number. We are only juniors that's a lot."

Blaine said," If they didn't think we could do it we wouldn't have been chosen. We can do it and we will be good."

Artie said," I know we are talented. I just feel the pressure because I am different and younger then most of orginal members of Glee. It can effect things in future."

Blaine said," We can put in extra practice to get it right."

Artie said," Thanks. There are couple weird moments in the script there is one where you are supposed to twist my arm. It's just for the play mom I hear you hovering. Blaine there is also moment where I'm supposed to shake the ladder that you are on. There is something else but that's not invole you and I dare not say it right now."

Blaine chuckled he could understand Artie's mom was kind of protective then said," I see those are a little weird but we will make it work."

Artie nodded then they opened play and began to practice dialogue in it. We fade out.  
Fade into Finn and Kurt's living room. Rachel was over. Rachel was trying to tell Kurt how to be Maria. Kurt said," For the thousandth time I don't need your help. I'm Mario it's gender swapped version and I've seen the play just as much as you. Also if you must know it's abridged and few things where changed to be high school friendly."

Finn said," Rachel you will get your script for your part tommorow." 

Rachel said,"Ugh I've got such a nothing part."

Kurt said,"Rachel haven't you said no such thing as a small part." 

Rachel said," Yeah but I deserve."

She was cut off by kiss from Finn. He was tired of her whining. He knew it would get her to be quiet for bit even if she was still doing it. Fade out fade into Puck's living room. 

Puck said," Mom I'm glad I have role in school play but there is stage fighting part I don't totally like."

Mrs.Puckerman asked,"How come?"

Puck said," You know kid in the chair he's playing counter part yeah Artie and I are friends. I wouldn't ever hurt him now like in past but I want to be extremely careful in this scene. The chair presents a challenge."

Mrs.Puckerman said," Aww my baby's growing up. You won't hurt Artie. I skimmed you'd script. During fight scene Blaine will be right there and I'm pretty sure he can catch if something where to go wrong and only go wrong in rehearsal. I'm glad you know think about how your actions effect others. And didn't you mention some jock threw someone into him last year and the two just shook it off after person thrown helped Artie up."

Puck said," It's Mike who helped Artie. Also Mike is cool 5'11 and Blaine is only 5'8. If I miss or Blaine misses they both could go down then I'd have angry mob following me at school. Plus we are counting on them for sectionals." 

Mrs.Puckerman asked,"How tall is Artie." 

Puck replied," No clue but when he was in rewalk last year he stood taller then Santana but shorter then Brittany."

Mrs.Puckerman said," Sounds like he's pretty small. I do kind of get worrying about people being mad at you if anything goes wrong in your scenes." 

Fade out. They worked tireseley at rehearsals for the next 1 day and 1 week. They even praticed some dialogue over phone for rehearsal on the weekend. Artie, Blaine and Kurt often stayed after official practice just to do it one more time. On Wednesday Brittany was announced senior class president. Rachel wasn't happy but she wasn't going to sarfice a job ever. She knew that was in poor taste. On Thursday Puck asked to go over fight scene with Artie. Blaine and Kurt decided to stay just in case. They where relived Puck was taking it seriously. Thankfully nothing went wrong. Well other then some of non Glee club members of Sharks and Jets tripping over themselves in the dance. Mike had been brought in to help these kids fix there dancing. Yes the Jets kids had challenge of the wheelchair being incorporated but Mike had worked with Artie enough to know they needed to not fear it. The extra fight scene rehearsal went fine. Every one was exhausted every day after play rehearsal. On days some of them also had Glee it was even more exhausting. That didn't stop Artie or Blaine from reciting lines once before bed. Kurt choice to do it in the morning. Artie already had morning routine that included some singing and guitar practice. Blaine liked to work out in the morning. Puck read it when pools where draining he was trying to earn some cash. Rachel was beigining to worry about her future. She really didn't know what she'd do if she didn't make it into nayda. Mr.Schue had promised her that she would get to sing at regionals. Right now they where preparing for sectionals.


	3. Chapter 3

My Glee West side story chapter 3  
start of play

Disclaimer: I own neither Glee or West side story

The curtians goes up and play begins

Prologue 

The opening is musical: half-danced, half-mimed with occasional phrases of dialogue. It is primarily a condensation of the growing rivalry between two teenage gangs, the JETS and the SHARKS, each of which has its own prideful uniform. The boys — side-burned, long-haired — are vital, restless, sardonic; the SHARKS are Puerto Ricans, the JETS an anthology of what is called "American."  
The action begins with the JETS in possession of the area: owning, enjoying, loving their "home." Their leader is RIFF: glowing, driving, intelligent, slightly whacky. 

The first interruption of the JETS' sunny mood is the sharply punctuated  
entrance of BERNARDO, the leader of the SHARKS: handsome, proud, fluid, a chip on his sardonic shoulder. The JETS, by far in the majority, flick him off. HE returns with other SHARKS: they, too, are flicked off. But the numerical supremacy, the strength of the JETS is gradually being threatened. The begin-nings of warfare are mild at first: a boy being tripped up or being sandbagged with a flour sack or even being spit on. All with overly elaborate apologies.  
Finally, a JET conies across the suddenly deserted area, pretending to be an airplane. There is no sound as lie zooms along in fancied flight. Then over the wall drops BERNARDO. Another SHARK, another and another appear, blocking the Jet's panicky efforts at escape. THEY close in, grab him, pummel as a SHARK on top of the wall is stationed as look-out. Finally, BERNARDO bends over the Jet and makes a gesture (piercing his ear); the look-out whistles; JETS tear on, SHARKS tear on, and a free-for-all breaks out. RIFF goes at once to the Jet like a protective father. It is stopped by a POLICE WHISTLE louder and louder and the arrival of a big, goon-like cop — KRLIPKE — and a plainclothesman: SCHRANK. SCHRANK is strong, always in command; he has a charming, pleasant manner which he often employs to cover his venom and his fear.

KRUPKE  
Knock it off! Settle down.

SCHRANK  
All right: Kill each other! ...But not on my beat.

RIFF

(Such innocence)  
Why if it isn't Lt. Schrank!

SEVERAL JETS

Top of the day, Officer Krupke.

SCHRANK  
Boy, what you Puerto Ricans have done to this neighborhood. Which one of 'em clobbered ya?  
(The Jet looks to RIFF who takes over with great helpful seriousness)

RIFF  
As a matter of factuality, sir, we suspicion the job was done by a cop.

A jet  
Two cops.

The Jet  
Oh, at least!

KRUPKE  
Impossible!

SCHRANK  
Didn't nobody tell you there's a difference between bein' a stool pigeon and coop-eratin' with the law?

RIFF  
You told us the difference, sir. And we all chipped in for a prize for the first guy who can figure it out.  
A Jet

(Indicating SCHRANK)  
Maybe buddy boy should get the prize.

SCHRANK  
Don't buddy boy me! I got a hot surprise for you: you hoodlums don't own the streets. There's been too much raiding between you and the PRs. All right, Bernardo, get your trash outa here.  
(Mock charm)  
Please.

BERNARDO  
Let's go, Sharks.  
(THEY EXIT)

SHRANK  
If I don't put down the roughhouse, I get put down — on a traffic corner. Your  
friend don't like traffic corners. So you buddy boys are gonna play ball with me. I gotta put up with them and so do you. You're gonna make nice with them PRs from now on. Because otherwise, I'm gonna beat the crap outa every one of ya and then run ya in. Say goodbye to the nice boys, Krupke.

KRUPKE  
Goodbye, boys.  
(Follows SCHRANK out)

 

Riff  
WE DO OWN IT! Jets — square off! 

Jets

(Shocked, to A-RAB)  
Gee, your ear's got blood on it!

 

(Proudly)  
I'm a casual, Baby John.

 

(Examining the ear)  
Those PRs! They branded you!

 

That makes you a Puerto Rican tomato. Cha cha cha, senorita!

 

RIFF  
Cut the frabbajabba. Which one of the Sharks did it?

The Jet  
Bernardo. 'Cause I hear him say: thees ees for stink-bombin' my old man's store.  
(Makes the same gesture BERNARDO made when he pierced his ear)

Other Jets  
Ouch!

 

You shoulda done worse. Them PRs're the reason my old man's gone bust.

RIFF  
Who says?

Other Jets  
My old man says.

 

My old man says his old man woulda gone bust anyway.

 

Your old man says what?

 

My old man says them Puerto Ricans is ruinin free ennaprise.

 

And what're we doin' about it?  
(Pushing through the gang comes a scrawny teenage girl, dressed in  
an outfit that is a pathetic attempt to imitate that of the JETS. Perhaps we have glimpsed her in the fracas before the police came in. Her name:)

 

Anybodys

 

Lissen, I was a smash in that fight. Oh, Riff, Riff, I was murder!

RIFF  
Come on, Anybodys 

ANYBODYS  
Riff, how about me gettin' in the gang now?

The Jet  
How about the gang gettin' in — ahhh, who'd wanta! ANYBODYS  
You cheap beast!  
(Lunges for the Jet but RIFF pulls her off and pushes her out)

RIFF  
The road, little lady, the road.  
(In a moment of bravado, just before she goes, ANYBODYS spits — but cautiously)  
Round out!  
(This is RIFF'S beckoning of the gang, and THEY surround him)  
We fought hard for this territory and it's ours. But with those cops servin' as cover, the PRs can move in right under our noses and take it away. UNLESS we speed fast and clean 'em up in one all-out fight!

A Jet

(Eagerly)  
A rumble!  
(A jabbing gesture)  
Chung! Chung!

RIFF  
Cool, boy. The Sharks want a place, too, and they are tough. They might ask for bottles or knives or zip guns.

 

A Jet

Zip guns... Gee!

 

RIFF  
I'm not finalizing and saying they will: I'm only saying they might and we gotta be prepared. Now what's your mood?

The Jets  
I say go, go!!

 

But if they say knives or guns

 

I say let's forget the whole thing.

 

What do you say, Riff?

RIFF  
I say this turf is small, but it's all we got. I wanna hold it like we always held it: with skin! But if they say switchblades, I'll get a switchblade. I say I want the Jets to be Number One, to sail, to hold the sky!

The Jets  
Then rev us off:  
(A punching gesture)  
Voom-va-voom!

 

Chung chung!

 

(Gesture)  
Cracko jacko!

 

(Gesture)  
Riga diga dum!

 

(The wildest gesture of all)  
Pam pam!!

RIFF  
O.K., buddy boys, we rumble!  
(General glee)  
Now protocality calls for a war council to decide on weapons. I'll make the challenge to Bernardo.

The Jets  
You gotta take a lieutenant.

 

That's me!

RIFF  
That's Tony.  
A Jet  
Who needs Tony?  
(MUSIC starts)

# 2 — Jet Song (Riff, Jets

 

RIFF  
Against the Sharks we need every man we got. A Jet  
Tony don't belong any more.  
RIFF  
Cut it, Action boy. I and Tony started the Jets. Jets  
Well, he acts like he don't wanna belong.

Who wouldn't wanna belong to the Jets!

Tony ain't been with us for over a month.

What about the day we clobbered the Emeralds? 

Which we couldn't have done without Tony.

 

He saved my ever lovin' neck.

RIFF  
Right. He's always come through for us and he will now.  
(SINGS)

WHEN YOU'RE A JET,  
YOU'RE A JET ALL THE WAY  
FROM YOUR FIRST CIGARETTE TO YOUR LAST DYIN' DAY. WHEN YOU'RE A JET, IF THE SPIT HITS THE FAN, YOU GOT BROTHERS AROUND, YOU'RE A FAMILY MAN! YOU'RE NEVER ALONE,  
YOU'RE NEVER DISCONNECTED! YOU'RE HOME WITH YOUR OWN, WHEN COMPANY'S EXPECTED, YOU'RE WELL-PROTECTED! THEN YOU ARE SET  
WITH A CAPITAL J,  
WHICH YOU'LL NEVER FORGET TILL THEY CART YOU AWAY. WHEN YOU'RE A JET,  
YOU STAY A JET!  
(Speaks)  
I know Tony like I know me. I guarantee you can count him in.

Jets  
In, out, let's get crackin'.

 

Where you gonna find Bernardo?

 

RIFF  
At the dance tonight at the gym.

A Jet  
But the gym's neutral territory.

RIFF  
(Sweet innocence)  
I'm gonna make nice there! I'm only gonna challenge him.

A Jet  
Great, Daddy-O!

RIFF  
So everybody dress up sweet and sharp. (THEY primp and preen)

ALL

OH, WHEN THE JETS FALL IN  
AT THE CORNBALL DANCE,  
WE'LL BE THE SWEETEST DRESSIN' GANG IN PANTS!  
AND WHEN THE CHICKS DIG US IN OUR JET BLACK TIES,  
THEY'RE GONNA FLIP, GONNA FLOP, GONNA DROP LIKE FLIES!  
(THEY dance together, a little wild)

RIFF

(Spoken)

HEY. COOL.  
EASY. SWEET.  
Meet Tony and me at ten. And walk tall! (HE runs off)

The Jets  
We always walk tall!

We are the Jets!

 

The greatest!

 

WHEN YOU'RE A JET,  
YOU'RE THE TOP CAT IN TOWN,  
YOU'RE THE GOLD-MEDAL KID  
WITH THE HEAVYWEIGHT CROWN!  
WHEN YOU'RE A JET,  
YOU'RE THE SWINGIN'EST THING" LITTLE BOY, YOU'RE A MAN; LITTLE MAN, YOU'RE A KING!  
ALL  
THE JETS ARE IN GEAR,  
OUR CYLINDERS ARE CLICKIN'! THE SHARKS' LL STEER CLEAR 'CAUSE EVERY PUERTO RICAN'S A LOUSY CHICKEN!

HERE COME THE JETS  
LIKE A BAT OUT OF HELL —  
SOMEONE GETS IN OUR WAY,  
SOMEONE DON'T FEEL SO WELL! HERE COME THE JETS:  
LITTLE WORLD, STEP ASIDE! BETTER GO UNDERGROUND, BETTER RUN, BETTER HIDE! WE'RE DRAWIN' THE LINE, SO KEEP YOUR NOSES HIDDEN! WE'RE HANGIN' A SIGN SAYS "VISITORS FORBIDDEN" — AND WE AIN'T KIDDIN'! HERE COME THE JETS,  
YEAH! AND WE'RE GONNA BEAT 

 

EVERY LAST BUGGIN' GANG  
ON THE WHOLE BUGGIN' STREET!

 

ON THE WHOLE!

ALL

EVER — !  
MOTHER — ! LOVIN' — ! STREET!  
(BLACKOUT)

END OF SCENE ONE

 

 

 

SCENE TWO

(A yard.  
On a small ladder, a good-looking boy is painting a vertical sign that will say: DOC'S. Below, RIFF is haranguing)

RIFF  
Riga tiga turn turn. Why not?... You can't say you won't, Tony boy, without saying why not?

TONY  
(Grins)  
Why not?

RIFF  
Because it's me askin', Riff. Womb to tomb!

TONY  
Sperm to worm!  
(Surveying the sign)  
You sure this looks like sky-writing?

 

RIFF  
It's brilliant.

TONY  
27 years the boss has had that drugstore. I want to surprise him with a new sign.

RIFF  
(Shaking the ladder)  
Tony, this is important!

TONY  
Very important: Acemen, Rocket men.

RIFF

 

l.)  
What's with you? Four and one-half years I live with a buddy and his family. Four and one-half years, I think I know a man's character. Buddy boy, I am a victim of disappointment in you.

TONY  
End your suffering, little man. Why don't you pack up your gear and clear out?

RIFF  
'Cause your ma's hot for me.  
(TONY grabs his arm and twists it)  
No! 'Cause I hate living with my buggin uncle uncle UNCLE!  
(TONY releases him and climbs back up)

TONY  
Now go play nice with the Jets.

RIFF  
The Jets are the greatest!

TONY  
Were.

RIFF  
Are. You found something better?

TONY  
No. But 

 

RIFF  
But what?

TONY  
You won't dig it.

RIFF  
Try me.

TONY  
O.K. Every single damn night for the last month, 1 wake up and I'm reaching out. RIFF  
For what?

TONY  
I don't know, it's right outside the door, around the corner. But it's comin'!

RIFF  
What is? Tell me!

TONY  
I don't know! It's — like the kick I used to get from being a Jet.

RIFF

(Quietly)  
...Or from being buddies.

TONY  
We're still buddies.

RIFF  
The kick comes from people, buddy boy.

TONY  
Yeah, but not from being a Jet.

RIFF  
No? Without a gang you're an orphan. With a gang you walk in twos, threes,  
fours. And when your gang is the best, when you're a Jet, buddy boy, you're out in the sun and home free home!

TONY  
Riff, I've had it.  
(Pause)

RIFF  
Tony, the trouble is large: the Sharks bite hard! We got to stop them now and we need you!  
(Pause. Quietly)  
I never asked the time of day from a clock, but I'm asking you: Come to the dance tonight...  
(TONY turns away)  
... I already told the gang you'd be there.

TONY

(After a beat, turns to him with a grin)  
What time?

RIFF  
Ten?

TONY  
Ten it is.

RIFF  
Womb to tomb!

TONY  
Sperm to worm! And I'll live to regret this.

RIFF  
Who knows? Maybe what you're waitin' for'll be twitching at the dance! (HE wheels off)

 

TONY  
Who knows?  
(MUSIC starts and HE SINGS)

# 3 — Something's Coming 

 

COULD BE! ...  
WHO KNOWS? ...  
THERE'S SOMETHING DUE ANY DAY; I WILL KNOW RIGHT AWAY  
SOON AS IT SHOWS.  
IT MAY COME CANNON-BALLING DOWN THROUGH THE SKY, GLEAM IN ITS EYE,  
BRIGHT AS A ROSE! WHO KNOWS? ...  
IT'S ONLY JUST OUT OF REACH,  
DOWN THE BLOCK, ON A BEACH, UNDER A TREE.  
I GOT A FEELING THERE'S A MIRACLE DUE, GONNA COME TRUE,  
COMING TO ME!

 

COULD IT BE? YES, IT COULD.  
SOMETHING'S COMING, SOMETHING GOOD, IF 1 CAN WAIT!  
SOMETHING'S COMING, I DON'T KNOW WHAT IT IS  
BUT IT IS GONNA BE GREAT!

WITH A CLICK, WITH A SHOCK,  
PHONE'LL JINGLE, DOOR'LL KNOCK, OPEN THE LATCH!  
SOMETHING'S COMING, DON'T KNOW WHEN, BUT IT'S SOON —  
CATCH THE MOON,  
ONE-HANDED CATCH!

 

AROUND THE CORNER,  
OR WHISTLING DOWN THE RIVER, COME ON — DELIVER  
TO ME!

 

WILL IT BE? YES, IT WILL.  
MAYBE JUST BY HOLDING STILL IT'LL BE THERE!  
COME ON, SOMETHING, COME ON IN, DON'T BE SHY, MEET A GUY,  
PULL UP A CHAIR!

 

THE AIR IS HUMMING,  
AND SOMETHING GREAT IS COMING! WHO KNOWS?  
IT'S ONLY JUST OUT OF REACH,  
DOWN THE BLOCK, ON A BEACH... MAYBE TONIGHT...

(DIM-OUT)

END OF SCENE TWO


	4. Chapter 4

My Glee West side story ch 4

Disclaimer: I don't own Glee or West side story

 

SCENE THREE

(Bridal shop.  
A small section, enough to include table with sewing machine; chair or two.  
ANITA, a Puerto Rican girl with loose hair and a slightly flashy  
"American" dress, is finishing remaking what was a white C  
nion dress into a party dress for an extremely lovely, extremely young girl: MARIA. ANITA is knowing, sexual, sharp. MARIA is an excited, enthusiastic, obedient child mixed with the temper, stubborn strength and awareness of a woman)

Mario

(Holding out scissors)  
Por favor, Anita. Make the neck lower!

 

Stop it, Mario  
One inch. How much can one little inch do?

 

Too much.

 

(Exasperated)

 

Anita  
Bernardo made me promise —

Mario

Ai! Bernardo! One month have I been in this country — do I ever even touch excite-ment? I sew all day, I sit all night. For what did my fine brother bring me here?

ANITA  
To marry Chino.

Mario  
When I look at Chino, nothing happens.

ANITA  
What do you expect to happen?

 

Mario  
I dunno: something. What happens when you look at Bernardo?

ANITA  
It's when I don't look that it happens.

 

Mario  
I think I will tell Mamma and Poppa about you and 'Nardo in the balcony of the movies.

ANITA  
I'll rip this to shreds!

Mario  
No. But if you perhaps could manage to lower the neck — ANITA  
Next year.

Mario  
Next year I will be married to Chino and no one will care if it is down to here!

ANITA  
Down to where?

Mario  
Down to here. I hate this suit!

ANITA  
Then don't wear it and don't come with us to the dance.

Mario

(Shocked)  
Don't come!  
(Grabs the suit)  
Could we not dye it red, at least?

ANITA  
No, we could not.  
(Starts to help Mario into the suit)

Mario  
White is for babies. I will be the only one there in a white —

ANITA  
Well???

 

Mario  
Ahhhh — si! It is a beautiful dress: I love you!  
(As she hugs ANITA, BERNARDO ENTERS followed by a shy, gentle, sweet-faced boy: CHINO)

BERNARDO  
Are you ready?  
Mario  
Come in, 'Nardo.  
(Twirls) Is it not beautiful?  
BERNARDO

(Looking only at Mario's face)  
Yes Very.

ANITA  
I didn't quite hear...

BERNARDO  
Very beautiful. Anita.

Mario

(Watches them a second, then turns to CHINO)  
Come in, Chino. Do not be afraid.

 

Mario  
'Nardo, it is most important that I have a wonderful time at the dancing tonight.  
BERNARDO  
(As ANITA hooks up MARIO)  
Why?

Mario  
Because tonight is the real beginning of my life as a young lady of America!  
(HE begins to whirl as the sop slides off and a flood of gaily colored streamers pours down. As Mario begins to turn and turn, going OFFSTAGE, SHARK GIRLS, dressed for the dance, whirl on, followed by JET GIRLS, by BOYS from both gangs. The streamers fly up again with the drop to reveal:)

END OF SCENE THREE

 

SCENE FOUR

(A dance hall.  
Actually, a converted gymnasium of a settlement house, disguised for the occasion with streamers and bunting.  
Both gangs are jitterbugging wildly with their bodies but their faces, although they are enjoying themselves, remain cool, almost detached. The line between the two gangs is sharply defined by the colors they wear: the JETS, girls as well as boys, reflecting the colors of the JET jackets; and the same for the SHARKS. The dancing is a phyical and emotional release for these kids.  
MARIO ENTERS with CHINO, BERNARDO and ANITA. As she  
looks around, delighted, thrilled by this, his first dance, the JETS catch sight of BERNARDO who is being greeted by PEPE, his lieutenant and other SHARKS. As the music peters away, the JETS withdraw to one side of the hall, around RIFF. The SHARKS, seeing this, draw to their side, aound BERNARDO. A brief consultation, and RIFF starts  
across — with lieutenants — to make his challenge to BERNARDO,  
who starts — with his lieutenants — to meet him. The moment is brief  
but it would be disastrous if a smiling, overly cheerful young man of about 30 did not hurry forward. HE is called GLAD HAND, and he is a "square" 

(Promenade music starts and the circles start revolving. GLAD  
HAND, whistle to his mouth, is in the center with KRUPKE. HE  
blows the WHISTLE and the MUSIC stops, leaving JET BOYS oppo-site SHARK GIRLS and vice-versa. There is a moment of tenseness, then BERNARDO reaches across the JET GIRL opposite for ANITA'S hand, and she comes to him. RIFF reaches for VELMA; and the kids of both gangs follow suit)

 

The "get-together" has failed, and each side is on its own side of the hall as mambo MUSIC starts)

SHARKS  
(Shou ted)

MAMBO!

JETS  
(Shouted)

MAMBO!

ALL

GO!  
(This turns into a challenge dance between BERNARDO and ANITA, cheered on by the SHARKS, and RIFF and VELMA cheered on by the JETS)

SHARKS

MAMBO!

 

MAMBO!  
(TONY ENTERS and is momentarily embraced by RIFF who is delighted that his best friend did turn up. The dance builds wilder and wilder until at its peak, everybody is dancing)

 

ALL  
GO, MAMBO! GO, MAMBO! GO, MAMBO!  
(It is at this moment that TONY and MARIO — at opposite sides of the hall — see each other. They have been cheering on their respective friends, clapping in rhythm. Now, as they see each other, their voices die, their smiles fade, their hands slowly go to their sides. The LIGHTS fade on the others who disappear into the haze of the background as a delicate cha cha begins and TONY and MARIO slowly walk forward  
to meet each other.

 

Cha-Cha   
Slowly, as though in a dream, they drift into the steps of the dance,  
always looking at each other, completely lost in each other; unaware of anything, any place, any time, anything but one another. Then)

 

TONY  
You're not thinking I'm someone else?

Mario  
I know you are not.

TONY  
Or that we have met before?

Mario  
I know we have not.

TONY  
I felt, I knew something-never-before was going to happen, had to happen. But this is —  
Mario  
(Interrupting)  
My hands are cold.  
(HE takes them in his)  
Yours, too.  
(HE moves her hands to his face)  
So warm.  
(SHE moves his hands to her face)

TONY  
Yours, too.

MARIO  
But of course. They are the same.

TONY  
It's so much to believe — you're not joking me?

Mario  
I have not yet learned how to joke that way. I think now I never will.  
(Impulsively, HE stops to kiss his hands;  
then tenderly, innocently, his lips.

 

The music bursts out, the lights flare up and BERNARDO is upon them in an icy rage

BERNARDO  
Go home, "American."

TONY  
Slow down, Bernardo.

BERNARDO  
Stay away from my brother!

 

TONY  
... brother? (RIFF steps up)

BERNARDO

(To Mario)  
Couldn't you see he's one of them?

Mario  
No; I saw only him.

BERNARDO

(As CHINO comes up)  
I told you: there's only one thing they want from a Puerto Rican! TONY  
That's a lie!

RIFF  
Cool, boy.

CHINO

(To TONY)  
Get away.

TONY  
You keep out, Chino.  
(To Mario)  
Don't listen to them!

BERNARDO  
He will listen to his brother before —

up)

BERNARDO  
I warned you —

CHINO  
Do not yell at her, 'Nardo.

BERNARDO  
You yell at babies.

ANITA  
And put ideas in the baby's head.

BERNARDO  
Take her home, Chino.

MARIA  
'Nardo, it is my first dance.

BERNARDO  
Please. We are family, Maria. Go.  
(MARIA hesitates, then starts out with CHINO as the light cross fades with her to the other group which she passes)

RIFF  
(To DIESEL, indicating TONY happily)  
I guess the kid's with us for sure now.  
(TONY doesn't even hear; HE is staring at Mario who stops for a moment)

CHINO  
Come, Mario.  
(THEY continue out

TONY  
Mario...

 

(HE is unaware that BERNARDO is crossing towards him but RIFF intercepts)

BERNARDO  
I don't want you.

RIFF  
I want you, though. For a War Council — Jets and Sharks.

BERNARDO  
The pleasure is mine.

RIFF  
Let's go outside.

BERNARDO  
I would not leave them here alone. We will meet you in half an hour.

RIFF  
Doc's drugstore?  
(BERNARDO nods)  
And no jazz before then.

BERNARDO  
I understand the rules — Native Boy.  
(The light is fading on them, on everyone but TONY)

RIFF  
Spread the word, Big Deal.

BIG DEAL  
Right, Daddy-o.

RIFF  
Let's get the chicks and kick it. Tony?  
(The LIGHTS dim out, except for a spotlight on TONY)

TONY  
Mario...

RIFF

(In darkness)  
Tony!

DIESEL

(In darkness)  
Ah, we'll see him at Doc's.

TONY  
(Dreamily)  
Mario...

 

# 5 — Mario (Tony)

(Singing softly)

THE MOST BEAUTIFUL SOUND I EVER HEARD.

FOUR BOYS

(OFFSTAGE)

Mario, Mario, Mario, Mario...

TONY  
ALL THE BEAUTIFUL SOUNDS OF THE WORLD IN A SINGLE WORD:

FOUR BOYS  
(OFFSTAGE)

Mario, Mario, Mario, Mario...  
(Swelling in intensity)

Mario, Mario...

TONY

Mario!  
I'VE JUST MET A BOY NAMED MARIO, AND SUDDENLY THAT NAME WILL NEVER BE THE SAME TO ME.

 

MARIO!  
I'VE JUST KISSED A BOY NAMED MARIO, AND SUDDENLY I'VE FOUND  
HOW WONDERFUL A SOUND CAN BE!

 

MARIO!  
SAY IT LOUD AND THERE'S MUSIC PLAYING -SAY IT SOFT AND IT'S ALMOST LIKE PRAYING -MARIO...  
I'LL NEVER STOP SAYING MARIO!  
MARIO! MARIO! MARIO! MARIO! MARIO! MARIO! MARIO! MARIO!

 

MARIO -  
SAY IT LOUD AND THERE'S MUSIC PLAYING -SAY IT SOFT AND IT'S ALMOST LIKE PRAYING -MARIO -  
I'LL NEVER STOP SAYING MARIO!  
THE MOST BEAUTIFUL SOUND I EVER HEARD -MARIO.  
(As TONY SINGS, he looks for where MARIO lives, wishing for him And he does appear, at the window above him which opens onto the fire escape)  
END OF SCENE FOUR


	5. Chapter 5

My Glee West side story ch 5

Disclaimer: I don't own Glee or West side story

 

SCENE FIVE

Balcony Scene (MARIO, Tony)

(Alleyway.  
A suggestion of buildings; a fire escape climbing to the rear window of an unseen flat.  
The scene continues)  
TONY  
Mario, Mario...

MARIO  
Ssh!

TONY  
Mario!!

MARIO  
Quiet!

TONY  
Come down.

MARIO  
No.

TONY  
Mario...

MARIO  
Please. If Bernardo —

TONY  
He's at the dance. Come down.

MARIO  
He will soon bring Anita home.

TONY  
Just for a minute.

MARIO

(Smiles)  
A minute is not enough.

TONY

(Smiles) For an hour, then. 

MARIO  
I cannot.

TONY  
For ever!

MARIO  
Ssh!

TONY  
Then I'm coming up.

WOMAN'S VOICE

(From the OFFSTAGE apartment)  
Mario!

MARIO  
Momentito, Mama...

TONY  
(Climbing up)  
Mario, Mario —

MARIO  
Calladito!  
(Reaching her hand out to stop him)  
Ssh!

TONY

(Grabbing his hand)  
Ssh!

MARIO  
It is dangerous.

TONY  
I'm not "one of them."

MARIO  
You are; but to me, you are not. Just as I am one of them — (Gestures inside)

TONY  
To me, you are all the —  
(HE covers his mouth with his hand)

MAN'S VOICE

(From the unseen apartment)  
Mario!

MARIO  
Si, ya vengo, Papa.

 

I see you.

TONY  
See only me.

 

MARIO  
(Singing)

ONLY YOU,  
YOU'RE THE ONLY THING I'LL SEE FOREVER. IN MY EYES, IN MY WORDS  
AND IN EVERYTHING I DO,  
NOTHING ELSE BUT YOU ...EVER!

TONY  
AND THERE'S NOTHING FOR ME BUT MARIO, EVERY SIGHT THAT I SEE IS MARIO.

MARIO

TONY, TONY...

TONY MARIO  
ALWAYS YOU,  
EVERY THOUGHT I'LL EVER KNOW,  
EVERYWHERE I GO, YOU'LL BE. ALL THE WORLD IS ONLY  
YOU AND ME! YOU AND ME!

(The y kiss. And now the buildings, the world fade away leaving them suspended in space)

MARIO

TONIGHT, TONIGHT,  
IT ALL BEGAN TONIGHT,  
I SAW YOU AND THE WORLD WENT AWAY. TONIGHT, TONIGHT,  
THERE'S ONLY YOU TONIGHT,  
WHAT YOU ARE, WHAT YOU DO, WHAT YOU SAY.

TONY  
I  
TODAY, ALL DAY I HAD THE FEELING A MIRACLE WOULD HAPPEN I KNOW NOW I WAS RIGHT. FOR HERE YOU ARE  
AND WHAT WAS JUST A WORLD IS A STAR TONIGHT!

 

BOTH  
TONIGHT, TONIGHT,  
THE WORLD IS FULL OF LIGHT,  
WITH SUNS AND MOONS ALL OVER THE PLACE. TONIGHT, TONIGHT,  
THE WORLD IS WILD AND BRIGHT,  
GOING MAD, SHOOTING SPARKS INTO SPACE. TODAY THE WORLD WAS JUST AN ADDRESS, A PLACE FOR ME TO LIVE IN,  
NO BETTER THAN ALRIGHT, BUT HERE YOU ARE  
AND WHAT WAS JUST A WORLD IS A STAR TONIGHT!

VOICE

(OFFSTAGE)  
Mario!

MARIO  
Wait for me!  
(HE goes inside as the buildings begin to return)

TONY  
(Singing)  
TONIGHT. TONIGHT,  
IT ALL BEGAN TONIGHT,  
I SAW YOU AND THE WORLD WENT AWAY.

MARIO  
(Returning)  
I cannot stay. Go quickly!

TONY  
I'm not afraid.

MARIO  
They are strict with me. Please.

 

TONY  
(Kissing him)  
Good night.

MARIO  
Buenas noches.

TONY  
I love you.

MARIO  
Yes, yes. Hurry.  
(HE climbs down)  
Wait! When will I see you?  
(HE starts back up)  
No!

TONY  
Tomorrow.

MARIO  
I work at the bridal shop. Come there.

TONY  
At sundown.

MARIO  
Yes. Good night.

TONY  
Good night.  
(Starts off)

MARIO  
Tony!

TONY  
Shh!

 

MARIO  
Come to the back door.

TONY  
Si.  
(Again, he starts out)

MARIO  
Tony!  
(HE stops. A pause in silence)  
What does Tony stand for?

TONY  
Anton.

MARIO  
Te adoro, Anton.

TONY  
Te adoro, Mario.  
(MUSIC starts again)

BOTH

(Singing)

GOOD NIGHT, GOOD NIGHT,  
SLEEP WELL AND WHEN YOU DREAM, DREAM OF ME  
TONIGHT.  
(HE goes inside; HE ducks out into the shadows just as  
BERNARDO and ANITA ENTER, followed by INDIO and PEPE and their GIRLS. One is a bleached blond, bangled beauty: CONSUELA. The other, quietly dressed in Spanish undertones, is ROSALIA. SHE is not too bright)

BERNARDO  
(Looking up to the window)  
Mario?

 

ANITA  
He has a mother. Also a father.

BERNARDO  
They do not know this country any better than he does. ANITA  
You do not know it at all!   
BERNARDO  
(Exaggerated)  
But Puerto-Rico-is-in-America-now!

ANITA

(In disgust)  
Ai!

BERNARDO

(Cooing)  
Anita Josefina Teresita —

ANITA  
It's plain Anita now —

BERNARDO  
i (Continuing through)  
— Beatrice del Carmen Marguerita etcetera etcetera ANITA  
Immigrant!

BERNARDO

(Pulling her to him)  
Thank God, you can't change your hair!

PEPE

(Fondling CONSUELO'S bleached mop)  
Is that possible?

 

CONSUELA  
In the USA, everything is real.

BERNARDO

(To CHINO who ENTERS)  
Chino, how was he when you took him home?

CHINO  
All right. 'Nardo, he was only dancing.

BERNARDO  
With an "American." Who is really a Polak.

ANITA  
Says the Spic.

BERNARDO  
You are not so cute.

ANITA  
That Tony is.

ROSALIA  
And he works.

CHINO  
A delivery boy.

ANITA  
And what are you?

CHINO  
An assistant.

BERNARDO  
Si! And Chino makes half what the Polak makes — the Polak is American!

ANITA  
Ai! Here comes the whole commercial!  
(A burlesque oration in mock Puerto Rican accent. BERNARDO starts the first line with her:)

The mother of Tony was born in Poland; the father still goes to night school. Tony was born in America so that makes him an American. But us? Foreigners!

PEPE, CONSUELA  
Lice!

PEPE, CONSUELA, ANITA  
Cockroaches!

BERNARDO  
Well, it is true! You remember how we were when we first came! Did we even think of going back?

BERNARDO, ANITA  
No! We came ready, eager —

ANITA

(Mocking)  
With our hearts open —

CONSUELA  
Our arms open —

PEPE  
You came with your pants open.

CONSUELA  
You did, pig!  
(Slaps him)  
You'll go back with handcuffs!

BERNARDO  
I an going back with a Cadillac!

CHINO  
Air-conditioned!

BERNARDO  
Built-in bar!

 

 

Television!

CHINO  
Compatible color!

BERNARDO  
And a king-sized bed.  
(Grabs ANITA)  
Come on.

ANITA

(Mimicking)  
Come on.

BERNARDO  
Well, are you or aren't you?

ANITA  
Well, are you or aren't you?

BERNARDO  
Well, are you?

ANITA  
You have your big, important War Council. The Council or me?

BERNARDO  
First one, then the other.

ANITA  
(Breaking away from him)  
I am an American girl now. I don't wait.

BERNARDO  
(To CHINO)  
Back home, women know their place.

ANITA  
Back home, little boys don't have war councils.

 

You want me to be an American?  
(To the boys)  
Vaminos, chicos, es tarde. (A mock bow)

BERNARDO  
Buenas noches, Anita, Josefina del Carmen, etcetera, etcetera, etcetera.  
(EXIT with BOYS)

ROSALIA  
That's a very pretty name: Etcetera. 

America

 

ANITA  
Ai!  
CONSUELA She means well.  
ROSALIA  
We have many pretty names at home. ANITA  
(Mimicking)

(Anita, Rosalia, Shark Girl:   
At home, at home. If it's so nice "at home," why don't you go back there? ROSALIA  
I would like to —  
(A look from ANITA) just for a successful visit.  
(SHE SINGS)  
PUERTO RICO...  
YOU LOVELY ISLAND...  
ISLAND OF TROPICAL BREEZES.  
ALWAYS THE PINEAPPLES GROWING,  
ALWAYS THE COFFEE BLOSSOMS BLOWING...

 

ANITA  
(SINGS sarcastically)

PUERTO RICO...  
YOU UGLY ISLAND...  
ISLAND OF TROPIC DISEASES.  
ALWAYS THE HURRICANES BLOWING, ALWAYS THE POPULATION GROWING... AND THE MONEY OWING,  
AND THE BABIES CRYING,  
AND THE BULLETS FLYING.  
I LIKE THE ISLAND MANHATTAN -  
SMOKE ON YOUR PIPE AND PUT THAT IN!

OTHERS EXCEPT ROSALIA

I LIKE TO BE IN AMERICA!  
OKAY BY ME IN AMERICA!  
EVERYTHING FREE IN AMERICA FOR A SMALL FEE IN AMERICA!

ROSALIA

I LIKE THE CITY OF SAN JUAN -

ANITA

I KNOW A BOAT YOU CAN GET ON.

ROSALIA

HUNDREDS OF FLOWERS IN FULL BLOOM -

ANITA

HUNDREDS OF PEOPLE IN EACH ROOM!

ALL EXCEPT ROSALIA

AUTOMOBILE IN AMERICA,  
CHROMIUM STEEL IN AMERICA,  
WIRE-SPOKE WHEEL IN AMERICA, VERY BIG DEAL IN AMERICA!

ROSALIA

I'LL DRIVE A BUICK THROUGH SAN JUAN -

 

ANITA  
IF THERE'S A ROAD YOU CAN DRIVE ON. ROSALIA  
I'LL GIVE MY COUSINS A FREE RIDE — ANITA  
HOW YOU GET ALL OF THEM INSIDE? ALL EXCEPT ROSALIA  
IMMIGRANT GOES TO AMERICA, MANY HELLOS IN AMERICA; NOBODY KNOWS IN AMERICA PUERTO RICO'S IN AMERICA.  
(The GIRLS whistle and dance)

ROSALIA  
I'LL BRING A TV TO SAN JUAN — ANITA  
IF THERE'S A CURRENT TO TURN ON. ROSALIA  
I'LL GIVE THEM NEW WASHING MACHINE — ANITA  
WHAT HAVE THEY GOT THERE TO KEEP CLEAN? ALL EXCEPT ROSALIA  
I LIKE THE SHORES OF AMERICA!  
COMFORT IS YOURS IN AMERICA!  
KNOBS ON THE DOORS IN AMERICA, WALL-TO-WALL FLOORS IN AMERICA!  
(THEY whistle and dance)

ROSALIA

WHEN I WILL GO BACK TO SAN JUAN 

ANITA  
WHEN YOU WILL SHUT UP AND GET GONE!

ROSALIA  
EVERYONE THERE WILL GIVE BIG CHEER!

ANITA  
EVERYONE THERE WILL HAVE MOVED HERE!  
(More whistling and dancing)

 

END OF SCENE  
FIVE 

Scene SIX  
(A Drugstore.  
A suggestion of a rundown, musty, general store which, in cities, is a "drugstore." A door leading to the street outside; another leading to the cellar below.  
BABY JOHN is reading a comic book; A-RAB is playing solitaire; ANYBODYS is huddled by the juke-box; ACTION is watching the street door. The atmosphere is tense, jumpy. ACTION slams the door and strides to the dart board)

ACTION  
Where the devil are they? Are we having a War Council tonight or ain't we?  
(Throws a dart savagely)

BABY JOHN  
He don't use knives. He don't even use a atomic ray gun.

A-RAB  
Who don't?

BABY JOHN  
Superman. Gee, I love him.

 

 

SNOWBOY  
So marry him.

ANYBODYS  
I ain't never gonna get married: too noisy.

A-RAB  
You ain't never gonna get married: too ugly.

ANYBODYS  
("Shooting" him)  
Pow pow!

A-RAB  
Cracko, jacko!  
(Clutching his belly, spins to the floor)  
Down goes a teenage hoodlum.

BABY JOHN  
Could a zip gun make you do like that?  
(A second of silence. Then BIG DEAL slants in the doorway and THEY all jump)

ACTION  
What the hell's a matter with you?

BIG DEAL  
I got caught sneakin' outa the movies.

A-RAB  
Sneakin' out? Waddya do that for?

BIG DEAL  
I sneaked in.

SNOWBOY  
A War Council coming up and he goes to the movies. ANYBODYS  
An' you let him be a Jet!

 

W E S T J I V E, Y 14 3 /

 

BABY JOHN  
Ah, go walk the streets like ya sister.

ANYBODYS

(Jumping him)  
Lissen, Jail Bait, I licked you twice and I can do it again.  
(From the doorway behind the counter a little middle-aged man ENTERS: DOC)

DOC  
Curfew, gentlemen. And lady. Baby John, you should be home in bed.

BABY JOHN  
We're gonna have a War Council here, Doc.

DOC  
A who?

BIG DEAL  
To decide on weapons for a big-time rumble!

SNOWBOY  
We're gonna mix with the PRs.

DOC  
Weapons. You couldn't play basketball?

ANYBODYS  
Get with it, buddy boy.

DOC  
War Councils —

ACTION  
Don't start, Doc.

DOC  
Rumbles...

ACTION  
Doc —  
DOC  
Why, when I was your age —

ACTION  
When you was my age; when my old man was my age; when my brother was my age! You was never my age, none a you! The sooner you creeps get hip to that, the sooner you'll dig us.

DOC  
I'll dig your early graves, that's what I'll dig. A- R A B  
Dig, dig, dig —  
I  
DOC  
What're you gonna be when you grow up?

ANYBODYS  
A telephone call girl!  
(The store doorbell tinkles as RIFF ENTERS with VELMA)

SNOWBOY  
Riff, hey!

ACTION  
Are they comin'?

RIFF  
Unwind, Action. Hey, Doc, Tony here?

DOC  
No, Riff, it's closing time.

ACTION

(To RIFF)  
What d'ya think they're gonna ask for?

A-RAB  
Just rubber hoses, maybe, huh?

 

RIFF  
Cool, little men.

GRAZIELLA  
You tell 'em, Daddy-o.

ACTION  
Chung chung!

A-RAB  
Cracko, jacko!

BIG DEAL  
Whamo bamo!

RIFF

(Sharply)  
Cool!

ANYBODYS  
Riff, — in a tight spot you need every man you can —

RIFF  
No.

GRAZIELLA

(Indicating ANYBODYS to VELMA)  
An American tragedy.

ANYBODYS  
Pow Pow.

GRAZIELLA  
Poo Poo.

RIFF  
Now when the victims come in, you chicks cut out.

GRAZIELLA  
We might, and then again we might not. I and Velma ain't kid stuff, neither. Are we, Vel?

 

No, thank you-oo, ooblee-oo.

GRAZIELLA  
And you can punctuate it?

VELMA  
Ooo! — (THEY giggle)

ACTION

(To RIFF)  
What're we pooping around with dumb broads? GRAZIELLA  
(Enraged)  
I and Velma ain't dumb!

ACTION  
We got important business comin'.

 

(Goes in cellar doorway as ACTION lunges for him)

ACTION  
Don't you call me hoodlum!

RIFF  
(Holding him)  
Easy, Action! Save your steam for the rumble.

A-RAB

(Indicating DOC)  
He don't want what we want, so we're hoodlums!

BABY JOHN  
I wear a jacket like my buddies, so my teacher calls me hoodlum!

ACTION  
I swear the next creep who calls me hoodlum — RIFF  
You'll laugh! Yeah. Now you all better dig this and dig it the most. No matter who or what is eating at you, you show it, buddy boys, and you are dead. You are cutting a hole in yourselves for them to stick in a red hot umbrella and open it. Wide.

Cool (Riff, Jets)

 

You wanna live? You play it cool.

ACTION  
I wanna get even!

RIFF  
Get cool.

A-RAB  
I wanna bust!

RIFF  
Bust cool. 

 

I wanna go!

 

Go cool!  
(SINGING)

 

BABY JOHN

 

RIFF  
BOY, BOY, CRAZY BOY — GET COOL, BOY!  
GOTTA ROCKET IN YOUR POCKET — KEEP COOLLY COOL, BOY!  
DON'T GET HOT,  
'CAUSE MAN, YOU GOT  
SOME HIGH TIMES AHEAD.  
TAKE IT SLOW AND DADDY-O,  
YOU CAN LIVE IT UP AND DIE IN BED. BOY, BOY, CRAZY BOY —  
STAY LOOSE, BOY!  
BREEZE IT, BUZZ IT, EASY DOES IT — TURN OFF THE JUICE, BOY!  
GO MAN, GO,  
BUT NOT LIKE A 10-  
YO SCHOOL BOY —  
JUST PLAY IT COOL, BOY, REAL COOL!  
Easy Action. Easy.  
(This leads into a frenetic dance in which the boys and girls release their emotions and get "cool." It finishes, starts again when a JET bounces in with the gang whistle. Everyone but RIFF and VELMA stops dancing. A moment, then BERNARDO, CHINO, PEPE and INDIO ENTER. Tension, but RIFF dances a moment longer. Then lie pats VELMA on her behind. Followed by GRAZIELLA, she runs out, slithering past the SHARKS. ANYBODYS is back, huddled by the juke-box but RIFF spots her. SHE gives him a pleading let-me-stay look, but he gestures for her to go. Unlike the other girls, ANYBODYS shoves the SHARKS like a big tough man as she EXITS)

Cool Chase 

RIFF  
Set 'em up, Doc. Cokes all around.

BERNARDO  
Let's get down to business.

RIFF  
Bernardo hasn't learned the procedures of gracious living.

BERNARDO  
I don't like you, either, So cut it.

RIFF  
Kick it, Doc.

DOC  
Boys, couldn't you maybe all talk it 

RIFF  
Kick it!  
(DOC goes out. The two GANGS take places behind their leaders)  
We challenge you to a rumble. All out, once and for all. Accept?

BERNARDO  
On what terms?

RIFF  
Whatever terms you're callin', buddy boy. You crossed the line once too often.

BERNARDO  
You started it.

RIFF  
Who jumped A-rab this afternoon?

BERNARDO  
Who jumped me the first day I moved here?

ACTION  
Who asked you to move here?

PEPE  
Who asked you?

SNOWBOY  
Move where you're wanted!

A-RAB  
Back where ya came from!

ACTION  
Spics!

PEPE  
Micks!

INDIO  
Wop!

BERNARDO  
We accept!

RIFF  
Time:

BERNARDO  
Tomorrow?

RIFF  
After dark.  
(They shake)  
Place:

BERNARDO  
The park.

RIFF  
The river.

BERNARDO  
Under the highway.  
(They shake)

RIFF  
Weapon:

 

(The doorbell tinkles as TONY bursts in yelling:)

TONY  
Hey, Doc!  
(HE stops as he sees them. Silence. Then lie comes forward as:)

RIFF  
Weapons!  
(DOC ENTERS)

BERNARDO  
Weapons...

RIFF  
You call.

BERNARDO  
Your challenge.

RIFF  
Afraid to call?

BERNARDO  
... Sticks.

RIFF  
... Rocks.

BERNARDO  
... Poles.

RIFF  
...Cans.

BERNARDO  
... Bricks.

RIFF  
... Bats.

 

BERNARDO  
... Clubs.

RIFF  
... Chains.

TONY  
... Bottles, knives, guns!  
(THEY stare)  
What a coop full of chickens!

ACTION  
Who you callin' chicken?

BERNARDO  
Every dog knows his own.

TONY  
I'm calling all of you chicken. The big tough buddy boys have to throw bricks! Afraid to get close in? Afraid to slug it out? Afraid to use plain skin?

BABY JOHN  
Not even garbage?

ACTION  
That ain't a rumble.

RIFF  
Who says?

BERNARDO  
You said call weapons.

TONY  
A rumble can be clinched by a fair fight. If you have the guts to risk that. Best man from each gang to slug it out.

BERNARDO

(Looking at TONY)  
I'd enjoy to risk that. O.K.! Fair fight!

PEPE  
What?

ACTION

(Simultaneously)  
No!

RIFF  
The Commanders say Yes or No.  
(To BERNARDO)  
Fair fight.  
(THEY shake)

BERNARDO

(To TONY)  
In two minutes you will be like a fish after skinning. RIFF  
Your best man fights our best man — and we pick him. BERNARDO  
But I thought I would be 

RIFF  
We shook on it, Bernardo.

BERNARDO  
Yes. I shook on it.

ACTION

(Quickly)  
Look, Bernardo, if you wanna change your mind, maybe we could all   
(One of the JETS near the door suddenly whistles. Instantly, they shift positions so they are mixed up: no segregation. Silence; then in comes SCHRANK. DOC comes in, brought by the tinkle of the little shop doorbell. During the following, the GANGS are absolutely silent and motionless, unless otherwise indicated)

 

DOC  
(Unhappily)  
Good-evening, Lt. Schrank. 1 and Tony was just closing up.

SCHRANK  
(Lifting a pack of cigarettes)  
Mind?

DOC  
I have no mind. I am the village idiot.

SCHRANK  
(Lighting it)  
I always make it a rule to smoke in the can. And what else is a room with half-breeds in it, eh, Riff?  
(BERNARDO'S move is checked by RIFF. SCHRANK, pleasantly:)  
Clear out, Spics. Sure; it's a free country and I ain't got the right. But it's a country with laws: and I can find the right. I got the badge, you got the skin. It's tough all over. Beat it!  
(A second. Then RIFF nods once to BERNARDO who nods to his  
GANG. Slowly, THEY file out. BERNARDO starts to whistle "My Country 'Tis of Thee" as he EXITS proudly. His GANG joins in, finishing a sardonic jazz lick OFFSTAGE.  
SCHRANK, pleasantly)  
From their angle, sure. Say, where's the rumble gonna be? Ah, look: I know reguli Americans don't rub with the gold-teeth otherwise. The river? The Park?  
(Silence)  
I'm for you. I want this beat cleaned up and you can do it for me. I'll even lend a hand if it gets rough. Where you gonna rumble? The playground? Sweeney's lot?  
(Angered by the silence)  
Ya think I'm a lousy stool pigeon? I wanna help ya get rid of them! Come on! Where's it gonna be? ... Get smart, you stupid hoodlums! I oughta fine ya for litterin' the streets. You oughta be taken down the station house and have your skulls mashed to a pulp! You and the tin horn immigrant scum you come from! How's your old man's DT's, A-rab? How's the action on your mother's mattress, Action?

 

VV 1-4 4.3 1 6-44 a .1-.1 a.

(ACTION lunges for him but is tripped up by RIFF. SCHRANK courches low, ready for him.

Quiet now:)  
Let him go, buddy boy, just let him go.  
(ACTION starts to his feet but DIESEL holds him)  
One of these days there won't be nobody to hold you.  
(RIFF deliberately starts for the door, followed by the OTHERS, except TONY.  
As they go:)  
I'll find out where ya gonna rumble. But be sure to finish each other off. Because if you don't I will!  
(RIFT has stayed at the door until the OTHERS have passed through. Now he just looks at SCHRANK and cockily saunters out. Silence.  
SCHRANK looks at DOC)  
Well, you try keepin' hoodlums in line and see what it does to you. (EXITS)

DOC  
It wouldn't give me a mouth like his.

 

Change Of Scene 

TONY  
Forget him. From here on in, everything goes my way.  
(Starts to clean up, turn out lights)

DOC  
You think it'll really be a fair fight?

TONY  
Yeah.

DOC  
What have you been taking tonight?

TONY  
A trip to the moon. And I'll tell you a secret. It isn't a man that's up there, Doc. It's a guy!  
(Opens the door)  
Well, buenas noches, senor.

DOC  
Buenas noches?! So that's why you made it a fair fight.  
(TONY smiles)  
... Tony... things aren't tough enough?

TONY  
Tough? Doc, I'm in love!

DOC  
How do you know?

TONY  
Because... there isn't any other way I could feel. DOC  
And you're not frightened?

TONY  
Should I be?  
(Opens door, EXITS)

DOC  
Why? I'm frightened enough for both of you.  
(Turns out the last light)  
END OF SCENE SIX


	6. Chapter 6

My Glee West side story chapter 6

Disclaimer: I don't own Glee or West side story

 

SCENE FIVE

Balcony Scene (MARIO, Tony)

(Alleyway.  
A suggestion of buildings; a fire escape climbing to the rear window of an unseen flat.  
The scene continues)  
TONY  
Mario, Mario...

MARIO  
Ssh!

TONY  
Mario!!

MARIO  
Quiet!

TONY  
Come down.

MARIO  
No.

TONY  
Mario...

MARIO  
Please. If Bernardo —

TONY  
He's at the dance. Come down.

MARIO  
He will soon bring Anita home.

TONY  
Just for a minute.

MARIO

(Smiles)  
A minute is not enough.

TONY

(Smiles) For an hour, then. 

MARIO  
I cannot.

TONY  
For ever!

MARIO  
Ssh!

TONY  
Then I'm coming up.

WOMAN'S VOICE

(From the OFFSTAGE apartment)  
Mario!

MARIO  
Momentito, Mama...

TONY  
(Climbing up)  
Mario, Mario —

MARIO  
Calladito!  
(Reaching her hand out to stop him)  
Ssh!

TONY

(Grabbing his hand)  
Ssh!

MARIO  
It is dangerous.

TONY  
I'm not "one of them."

MARIO  
You are; but to me, you are not. Just as I am one of them — (Gestures inside)

TONY  
To me, you are all the —  
(HE covers his mouth with his hand)

MAN'S VOICE

(From the unseen apartment)  
Mario!

MARIO  
Si, ya vengo, Papa.

 

I see you.

TONY  
See only me.

 

MARIO  
(Singing)

ONLY YOU,  
YOU'RE THE ONLY THING I'LL SEE FOREVER. IN MY EYES, IN MY WORDS  
AND IN EVERYTHING I DO,  
NOTHING ELSE BUT YOU ...EVER!

TONY  
AND THERE'S NOTHING FOR ME BUT MARIO, EVERY SIGHT THAT I SEE IS MARIO.

MARIO

TONY, TONY...

TONY MARIO  
ALWAYS YOU,  
EVERY THOUGHT I'LL EVER KNOW,  
EVERYWHERE I GO, YOU'LL BE. ALL THE WORLD IS ONLY  
YOU AND ME! YOU AND ME!

(The y kiss. And now the buildings, the world fade away leaving them suspended in space)

MARIO

TONIGHT, TONIGHT,  
IT ALL BEGAN TONIGHT,  
I SAW YOU AND THE WORLD WENT AWAY. TONIGHT, TONIGHT,  
THERE'S ONLY YOU TONIGHT,  
WHAT YOU ARE, WHAT YOU DO, WHAT YOU SAY.

TONY  
I  
TODAY, ALL DAY I HAD THE FEELING A MIRACLE WOULD HAPPEN I KNOW NOW I WAS RIGHT. FOR HERE YOU ARE  
AND WHAT WAS JUST A WORLD IS A STAR TONIGHT!

 

BOTH  
TONIGHT, TONIGHT,  
THE WORLD IS FULL OF LIGHT,  
WITH SUNS AND MOONS ALL OVER THE PLACE. TONIGHT, TONIGHT,  
THE WORLD IS WILD AND BRIGHT,  
GOING MAD, SHOOTING SPARKS INTO SPACE. TODAY THE WORLD WAS JUST AN ADDRESS, A PLACE FOR ME TO LIVE IN,  
NO BETTER THAN ALRIGHT, BUT HERE YOU ARE  
AND WHAT WAS JUST A WORLD IS A STAR TONIGHT!

VOICE

(OFFSTAGE)  
Mario!

MARIO  
Wait for me!  
(HE goes inside as the buildings begin to return)

TONY  
(Singing)  
TONIGHT. TONIGHT,  
IT ALL BEGAN TONIGHT,  
I SAW YOU AND THE WORLD WENT AWAY.

MARIO  
(Returning)  
I cannot stay. Go quickly!

TONY  
I'm not afraid.

MARIO  
They are strict with me. Please.

 

TONY  
(Kissing him)  
Good night.

MARIO  
Buenas noches.

TONY  
I love you.

MARIO  
Yes, yes. Hurry.  
(HE climbs down)  
Wait! When will I see you?  
(HE starts back up)  
No!

TONY  
Tomorrow.

MARIO  
I work at the bridal shop. Come there.

TONY  
At sundown.

MARIO  
Yes. Good night.

TONY  
Good night.  
(Starts off)

MARIO  
Tony!

TONY  
Shh!

 

MARIO  
Come to the back door.

TONY  
Si.  
(Again, he starts out)

MARIO  
Tony!  
(HE stops. A pause in silence)  
What does Tony stand for?

TONY  
Anton.

MARIO  
Te adoro, Anton.

TONY  
Te adoro, Mario.  
(MUSIC starts again)

BOTH

(Singing)

GOOD NIGHT, GOOD NIGHT,  
SLEEP WELL AND WHEN YOU DREAM, DREAM OF ME  
TONIGHT.  
(HE goes inside; HE ducks out into the shadows just as  
BERNARDO and ANITA ENTER, followed by INDIO and PEPE and their GIRLS. One is a bleached blond, bangled beauty: CONSUELA. The other, quietly dressed in Spanish undertones, is ROSALIA. SHE is not too bright)

BERNARDO  
(Looking up to the window)  
Mario?

 

ANITA  
He has a mother. Also a father.

BERNARDO  
They do not know this country any better than he does. ANITA  
You do not know it at all!   
BERNARDO  
(Exaggerated)  
But Puerto-Rico-is-in-America-now!

ANITA

(In disgust)  
Ai!

BERNARDO

(Cooing)  
Anita Josefina Teresita —

ANITA  
It's plain Anita now —

BERNARDO  
i (Continuing through)  
— Beatrice del Carmen Marguerita etcetera etcetera ANITA  
Immigrant!

BERNARDO

(Pulling her to him)  
Thank God, you can't change your hair!

PEPE

(Fondling CONSUELO'S bleached mop)  
Is that possible?

 

CONSUELA  
In the USA, everything is real.

BERNARDO

(To CHINO who ENTERS)  
Chino, how was he when you took him home?

CHINO  
All right. 'Nardo, he was only dancing.

BERNARDO  
With an "American." Who is really a Polak.

ANITA  
Says the Spic.

BERNARDO  
You are not so cute.

ANITA  
That Tony is.

ROSALIA  
And he works.

CHINO  
A delivery boy.

ANITA  
And what are you?

CHINO  
An assistant.

BERNARDO  
Si! And Chino makes half what the Polak makes — the Polak is American!

ANITA  
Ai! Here comes the whole commercial!  
(A burlesque oration in mock Puerto Rican accent. BERNARDO starts the first line with her:)

The mother of Tony was born in Poland; the father still goes to night school. Tony was born in America so that makes him an American. But us? Foreigners!

PEPE, CONSUELA  
Lice!

PEPE, CONSUELA, ANITA  
Cockroaches!

BERNARDO  
Well, it is true! You remember how we were when we first came! Did we even think of going back?

BERNARDO, ANITA  
No! We came ready, eager —

ANITA

(Mocking)  
With our hearts open —

CONSUELA  
Our arms open —

PEPE  
You came with your pants open.

CONSUELA  
You did, pig!  
(Slaps him)  
You'll go back with handcuffs!

BERNARDO  
I an going back with a Cadillac!

CHINO  
Air-conditioned!

BERNARDO  
Built-in bar!

 

 

Television!

CHINO  
Compatible color!

BERNARDO  
And a king-sized bed.  
(Grabs ANITA)  
Come on.

ANITA

(Mimicking)  
Come on.

BERNARDO  
Well, are you or aren't you?

ANITA  
Well, are you or aren't you?

BERNARDO  
Well, are you?

ANITA  
You have your big, important War Council. The Council or me?

BERNARDO  
First one, then the other.

ANITA  
(Breaking away from him)  
I am an American girl now. I don't wait.

BERNARDO  
(To CHINO)  
Back home, women know their place.

ANITA  
Back home, little boys don't have war councils.

 

You want me to be an American?  
(To the boys)  
Vaminos, chicos, es tarde. (A mock bow)

BERNARDO  
Buenas noches, Anita, Josefina del Carmen, etcetera, etcetera, etcetera.  
(EXIT with BOYS)

ROSALIA  
That's a very pretty name: Etcetera. 

America

 

ANITA  
Ai!  
CONSUELA She means well.  
ROSALIA  
We have many pretty names at home. ANITA  
(Mimicking)

(Anita, Rosalia, Shark Girl:   
At home, at home. If it's so nice "at home," why don't you go back there? ROSALIA  
I would like to —  
(A look from ANITA) just for a successful visit.  
(SHE SINGS)  
PUERTO RICO...  
YOU LOVELY ISLAND...  
ISLAND OF TROPICAL BREEZES.  
ALWAYS THE PINEAPPLES GROWING,  
ALWAYS THE COFFEE BLOSSOMS BLOWING...

 

ANITA  
(SINGS sarcastically)

PUERTO RICO...  
YOU UGLY ISLAND...  
ISLAND OF TROPIC DISEASES.  
ALWAYS THE HURRICANES BLOWING, ALWAYS THE POPULATION GROWING... AND THE MONEY OWING,  
AND THE BABIES CRYING,  
AND THE BULLETS FLYING.  
I LIKE THE ISLAND MANHATTAN -  
SMOKE ON YOUR PIPE AND PUT THAT IN!

OTHERS EXCEPT ROSALIA

I LIKE TO BE IN AMERICA!  
OKAY BY ME IN AMERICA!  
EVERYTHING FREE IN AMERICA FOR A SMALL FEE IN AMERICA!

ROSALIA

I LIKE THE CITY OF SAN JUAN -

ANITA

I KNOW A BOAT YOU CAN GET ON.

ROSALIA

HUNDREDS OF FLOWERS IN FULL BLOOM -

ANITA

HUNDREDS OF PEOPLE IN EACH ROOM!

ALL EXCEPT ROSALIA

AUTOMOBILE IN AMERICA,  
CHROMIUM STEEL IN AMERICA,  
WIRE-SPOKE WHEEL IN AMERICA, VERY BIG DEAL IN AMERICA!

ROSALIA

I'LL DRIVE A BUICK THROUGH SAN JUAN -

 

ANITA  
IF THERE'S A ROAD YOU CAN DRIVE ON. ROSALIA  
I'LL GIVE MY COUSINS A FREE RIDE — ANITA  
HOW YOU GET ALL OF THEM INSIDE? ALL EXCEPT ROSALIA  
IMMIGRANT GOES TO AMERICA, MANY HELLOS IN AMERICA; NOBODY KNOWS IN AMERICA PUERTO RICO'S IN AMERICA.  
(The GIRLS whistle and dance)

ROSALIA  
I'LL BRING A TV TO SAN JUAN — ANITA  
IF THERE'S A CURRENT TO TURN ON. ROSALIA  
I'LL GIVE THEM NEW WASHING MACHINE — ANITA  
WHAT HAVE THEY GOT THERE TO KEEP CLEAN? ALL EXCEPT ROSALIA  
I LIKE THE SHORES OF AMERICA!  
COMFORT IS YOURS IN AMERICA!  
KNOBS ON THE DOORS IN AMERICA, WALL-TO-WALL FLOORS IN AMERICA!  
(THEY whistle and dance)

ROSALIA

WHEN I WILL GO BACK TO SAN JUAN 

ANITA  
WHEN YOU WILL SHUT UP AND GET GONE!

ROSALIA  
EVERYONE THERE WILL GIVE BIG CHEER!

ANITA  
EVERYONE THERE WILL HAVE MOVED HERE!  
(More whistling and dancing)

 

END OF SCENE  
FIVE 

Scene SIX  
(A Drugstore.  
A suggestion of a rundown, musty, general store which, in cities, is a "drugstore." A door leading to the street outside; another leading to the cellar below.  
BABY JOHN is reading a comic book; A-RAB is playing solitaire; ANYBODYS is huddled by the juke-box; ACTION is watching the street door. The atmosphere is tense, jumpy. ACTION slams the door and strides to the dart board)

ACTION  
Where the devil are they? Are we having a War Council tonight or ain't we?  
(Throws a dart savagely)

BABY JOHN  
He don't use knives. He don't even use a atomic ray gun.

A-RAB  
Who don't?

BABY JOHN  
Superman. Gee, I love him.

 

 

SNOWBOY  
So marry him.

ANYBODYS  
I ain't never gonna get married: too noisy.

A-RAB  
You ain't never gonna get married: too ugly.

ANYBODYS  
("Shooting" him)  
Pow pow!

A-RAB  
Cracko, jacko!  
(Clutching his belly, spins to the floor)  
Down goes a teenage hoodlum.

BABY JOHN  
Could a zip gun make you do like that?  
(A second of silence. Then BIG DEAL slants in the doorway and THEY all jump)

ACTION  
What the hell's a matter with you?

BIG DEAL  
I got caught sneakin' outa the movies.

A-RAB  
Sneakin' out? Waddya do that for?

BIG DEAL  
I sneaked in.

SNOWBOY  
A War Council coming up and he goes to the movies. ANYBODYS  
An' you let him be a Jet!

 

W E S T J I V E, Y 14 3 /

 

BABY JOHN  
Ah, go walk the streets like ya sister.

ANYBODYS

(Jumping him)  
Lissen, Jail Bait, I licked you twice and I can do it again.  
(From the doorway behind the counter a little middle-aged man ENTERS: DOC)

DOC  
Curfew, gentlemen. And lady. Baby John, you should be home in bed.

BABY JOHN  
We're gonna have a War Council here, Doc.

DOC  
A who?

BIG DEAL  
To decide on weapons for a big-time rumble!

SNOWBOY  
We're gonna mix with the PRs.

DOC  
Weapons. You couldn't play basketball?

ANYBODYS  
Get with it, buddy boy.

DOC  
War Councils —

ACTION  
Don't start, Doc.

DOC  
Rumbles...

ACTION  
Doc —  
DOC  
Why, when I was your age —

ACTION  
When you was my age; when my old man was my age; when my brother was my age! You was never my age, none a you! The sooner you creeps get hip to that, the sooner you'll dig us.

DOC  
I'll dig your early graves, that's what I'll dig. A- R A B  
Dig, dig, dig —  
I  
DOC  
What're you gonna be when you grow up?

ANYBODYS  
A telephone call girl!  
(The store doorbell tinkles as RIFF ENTERS with VELMA)

SNOWBOY  
Riff, hey!

ACTION  
Are they comin'?

RIFF  
Unwind, Action. Hey, Doc, Tony here?

DOC  
No, Riff, it's closing time.

ACTION

(To RIFF)  
What d'ya think they're gonna ask for?

A-RAB  
Just rubber hoses, maybe, huh?

 

RIFF  
Cool, little men.

GRAZIELLA  
You tell 'em, Daddy-o.

ACTION  
Chung chung!

A-RAB  
Cracko, jacko!

BIG DEAL  
Whamo bamo!

RIFF

(Sharply)  
Cool!

ANYBODYS  
Riff, — in a tight spot you need every man you can —

RIFF  
No.

GRAZIELLA

(Indicating ANYBODYS to VELMA)  
An American tragedy.

ANYBODYS  
Pow Pow.

GRAZIELLA  
Poo Poo.

RIFF  
Now when the victims come in, you chicks cut out.

GRAZIELLA  
We might, and then again we might not. I and Velma ain't kid stuff, neither. Are we, Vel?

 

No, thank you-oo, ooblee-oo.

GRAZIELLA  
And you can punctuate it?

VELMA  
Ooo! — (THEY giggle)

ACTION

(To RIFF)  
What're we pooping around with dumb broads? GRAZIELLA  
(Enraged)  
I and Velma ain't dumb!

ACTION  
We got important business comin'.

 

(Goes in cellar doorway as ACTION lunges for him)

ACTION  
Don't you call me hoodlum!

RIFF  
(Holding him)  
Easy, Action! Save your steam for the rumble.

A-RAB

(Indicating DOC)  
He don't want what we want, so we're hoodlums!

BABY JOHN  
I wear a jacket like my buddies, so my teacher calls me hoodlum!

ACTION  
I swear the next creep who calls me hoodlum — RIFF  
You'll laugh! Yeah. Now you all better dig this and dig it the most. No matter who or what is eating at you, you show it, buddy boys, and you are dead. You are cutting a hole in yourselves for them to stick in a red hot umbrella and open it. Wide.

Cool (Riff, Jets)

 

You wanna live? You play it cool.

ACTION  
I wanna get even!

RIFF  
Get cool.

A-RAB  
I wanna bust!

RIFF  
Bust cool. 

 

I wanna go!

 

Go cool!  
(SINGING)

 

BABY JOHN

 

RIFF  
BOY, BOY, CRAZY BOY — GET COOL, BOY!  
GOTTA ROCKET IN YOUR POCKET — KEEP COOLLY COOL, BOY!  
DON'T GET HOT,  
'CAUSE MAN, YOU GOT  
SOME HIGH TIMES AHEAD.  
TAKE IT SLOW AND DADDY-O,  
YOU CAN LIVE IT UP AND DIE IN BED. BOY, BOY, CRAZY BOY —  
STAY LOOSE, BOY!  
BREEZE IT, BUZZ IT, EASY DOES IT — TURN OFF THE JUICE, BOY!  
GO MAN, GO,  
BUT NOT LIKE A 10-  
YO SCHOOL BOY —  
JUST PLAY IT COOL, BOY, REAL COOL!  
Easy Action. Easy.  
(This leads into a frenetic dance in which the boys and girls release their emotions and get "cool." It finishes, starts again when a JET bounces in with the gang whistle. Everyone but RIFF and VELMA stops dancing. A moment, then BERNARDO, CHINO, PEPE and INDIO ENTER. Tension, but RIFF dances a moment longer. Then lie pats VELMA on her behind. Followed by GRAZIELLA, she runs out, slithering past the SHARKS. ANYBODYS is back, huddled by the juke-box but RIFF spots her. SHE gives him a pleading let-me-stay look, but he gestures for her to go. Unlike the other girls, ANYBODYS shoves the SHARKS like a big tough man as she EXITS)

Cool Chase 

RIFF  
Set 'em up, Doc. Cokes all around.

BERNARDO  
Let's get down to business.

RIFF  
Bernardo hasn't learned the procedures of gracious living.

BERNARDO  
I don't like you, either, So cut it.

RIFF  
Kick it, Doc.

DOC  
Boys, couldn't you maybe all talk it 

RIFF  
Kick it!  
(DOC goes out. The two GANGS take places behind their leaders)  
We challenge you to a rumble. All out, once and for all. Accept?

BERNARDO  
On what terms?

RIFF  
Whatever terms you're callin', buddy boy. You crossed the line once too often.

BERNARDO  
You started it.

RIFF  
Who jumped A-rab this afternoon?

BERNARDO  
Who jumped me the first day I moved here?

ACTION  
Who asked you to move here?

PEPE  
Who asked you?

SNOWBOY  
Move where you're wanted!

A-RAB  
Back where ya came from!

ACTION  
Spics!

PEPE  
Micks!

INDIO  
Wop!

BERNARDO  
We accept!

RIFF  
Time:

BERNARDO  
Tomorrow?

RIFF  
After dark.  
(They shake)  
Place:

BERNARDO  
The park.

RIFF  
The river.

BERNARDO  
Under the highway.  
(They shake)

RIFF  
Weapon:

 

(The doorbell tinkles as TONY bursts in yelling:)

TONY  
Hey, Doc!  
(HE stops as he sees them. Silence. Then lie comes forward as:)

RIFF  
Weapons!  
(DOC ENTERS)

BERNARDO  
Weapons...

RIFF  
You call.

BERNARDO  
Your challenge.

RIFF  
Afraid to call?

BERNARDO  
... Sticks.

RIFF  
... Rocks.

BERNARDO  
... Poles.

RIFF  
...Cans.

BERNARDO  
... Bricks.

RIFF  
... Bats.

 

BERNARDO  
... Clubs.

RIFF  
... Chains.

TONY  
... Bottles, knives, guns!  
(THEY stare)  
What a coop full of chickens!

ACTION  
Who you callin' chicken?

BERNARDO  
Every dog knows his own.

TONY  
I'm calling all of you chicken. The big tough buddy boys have to throw bricks! Afraid to get close in? Afraid to slug it out? Afraid to use plain skin?

BABY JOHN  
Not even garbage?

ACTION  
That ain't a rumble.

RIFF  
Who says?

BERNARDO  
You said call weapons.

TONY  
A rumble can be clinched by a fair fight. If you have the guts to risk that. Best man from each gang to slug it out.

BERNARDO

(Looking at TONY)  
I'd enjoy to risk that. O.K.! Fair fight!

PEPE  
What?

ACTION

(Simultaneously)  
No!

RIFF  
The Commanders say Yes or No.  
(To BERNARDO)  
Fair fight.  
(THEY shake)

BERNARDO

(To TONY)  
In two minutes you will be like a fish after skinning. RIFF  
Your best man fights our best man — and we pick him. BERNARDO  
But I thought I would be 

RIFF  
We shook on it, Bernardo.

BERNARDO  
Yes. I shook on it.

ACTION

(Quickly)  
Look, Bernardo, if you wanna change your mind, maybe we could all   
(One of the JETS near the door suddenly whistles. Instantly, they shift positions so they are mixed up: no segregation. Silence; then in comes SCHRANK. DOC comes in, brought by the tinkle of the little shop doorbell. During the following, the GANGS are absolutely silent and motionless, unless otherwise indicated)

 

DOC  
(Unhappily)  
Good-evening, Lt. Schrank. 1 and Tony was just closing up.

SCHRANK  
(Lifting a pack of cigarettes)  
Mind?

DOC  
I have no mind. I am the village idiot.

SCHRANK  
(Lighting it)  
I always make it a rule to smoke in the can. And what else is a room with half-breeds in it, eh, Riff?  
(BERNARDO'S move is checked by RIFF. SCHRANK, pleasantly:)  
Clear out, Spics. Sure; it's a free country and I ain't got the right. But it's a country with laws: and I can find the right. I got the badge, you got the skin. It's tough all over. Beat it!  
(A second. Then RIFF nods once to BERNARDO who nods to his  
GANG. Slowly, THEY file out. BERNARDO starts to whistle "My Country 'Tis of Thee" as he EXITS proudly. His GANG joins in, finishing a sardonic jazz lick OFFSTAGE.  
SCHRANK, pleasantly)  
From their angle, sure. Say, where's the rumble gonna be? Ah, look: I know reguli Americans don't rub with the gold-teeth otherwise. The river? The Park?  
(Silence)  
I'm for you. I want this beat cleaned up and you can do it for me. I'll even lend a hand if it gets rough. Where you gonna rumble? The playground? Sweeney's lot?  
(Angered by the silence)  
Ya think I'm a lousy stool pigeon? I wanna help ya get rid of them! Come on! Where's it gonna be? ... Get smart, you stupid hoodlums! I oughta fine ya for litterin' the streets. You oughta be taken down the station house and have your skulls mashed to a pulp! You and the tin horn immigrant scum you come from! How's your old man's DT's, A-rab? How's the action on your mother's mattress, Action?

 

VV 1-4 4.3 1 6-44 a .1-.1 a.

(ACTION lunges for him but is tripped up by RIFF. SCHRANK courches low, ready for him.

Quiet now:)  
Let him go, buddy boy, just let him go.  
(ACTION starts to his feet but DIESEL holds him)  
One of these days there won't be nobody to hold you.  
(RIFF deliberately starts for the door, followed by the OTHERS, except TONY.  
As they go:)  
I'll find out where ya gonna rumble. But be sure to finish each other off. Because if you don't I will!  
(RIFT has stayed at the door until the OTHERS have passed through. Now he just looks at SCHRANK and cockily saunters out. Silence.  
SCHRANK looks at DOC)  
Well, you try keepin' hoodlums in line and see what it does to you. (EXITS)

DOC  
It wouldn't give me a mouth like his.

 

Change Of Scene 

TONY  
Forget him. From here on in, everything goes my way.  
(Starts to clean up, turn out lights)

DOC  
You think it'll really be a fair fight?

TONY  
Yeah.

DOC  
What have you been taking tonight?

TONY  
A trip to the moon. And I'll tell you a secret. It isn't a man that's up there, Doc. It's a guy!  
(Opens the door)  
Well, buenas noches, senor.

DOC  
Buenas noches?! So that's why you made it a fair fight.  
(TONY smiles)  
... Tony... things aren't tough enough?

TONY  
Tough? Doc, I'm in love!

DOC  
How do you know?

TONY  
Because... there isn't any other way I could feel. DOC  
And you're not frightened?

TONY  
Should I be?  
(Opens door, EXITS)

DOC  
Why? I'm frightened enough for both of you.  
(Turns out the last light)  
END OF SCENE SIX


	7. Chapter 7

My Glee West side story ch 7

Disclaimer:I don't own Glee or West side story

 

SCENE SEVEN  
(Bridal Shop. Hot late afternoon sun coloring the work room. One or two sewing machines. Several dressmaker dummies, male and female, in bridal party garb.

 

MARIO, in a smock, is hand-sewing a wedding veil as ANITA whirls in whipping off her smock)

ANITA  
She's gone! That old bag of a bruja has gone!

MARIO  
Brava!

ANITA  
The day is over, the jail is open, home we go!

MARIO  
You go, querida. I will lock up.

ANITA  
Finish tomorrow. Come!

MARIO  
But I am in no hurry.

ANITA  
I am. I'm going to take a bubble bath all during supper: Black Orchid.

MARIO  
You will not eat?

ANITA  
After the rumble — with 'Nardo.

MARIO

(Sewing angrily)  
That rumble, why do they have it?

ANITA  
You saw how they dance: like they have to get rid of something quick. That's how they fight.

 

 

Too much feeling. And they get rid of it: after a fight, that brother of yours is so healthy! Definitely: Black Orchid.  
(Knock at rear door and TONY ENTERS)

TONY  
Buenas noches!

ANITA

(Sarcastically, to MARIO)  
"You go, querida. I'll lock up."  
(To TONY)  
It's too early for noches. Buenas tardes.

TONY

(Bows)  
Gracias. Buenas tardes.

MARIA  
He just came to deliver aspirin.

ANITA  
You'll need it.

TONY  
No, we're out of the world.

ANITA  
You're out of your heads.

TONY  
We're twelve feet in the air.

MARIO

(Gently taking his hand)  
Anita can see all that.  
(To ANITA)  
You will not tell?

 

ANITA  
Tell what? How can I hear what goes on twelve feet over my head?  
(Opens door — to MARIO)  
You better be home in fifteen minutes.  
(SHE goes out)

TONY  
Don't worry. She likes us!

MARIO  
But she is worried.

TONY  
She's foolish. We're untouchable; we are in the air; we have magic!

MARIO  
Magic is also evil and black. Are you going to that rumble?

TONY  
No.

MARIO  
Yes.

TONY  
Why??

MARIO  
You must go and stop it.

TONY  
I have stopped it! It's only a fist fight. 'Nardo won't get 

MARIO  
Any fight is not good for us.

TONY  
Everything is good for us and we are good for everything.

MARIO  
Listen and hear me. You must go and stop it.

 

TONY  
Then I will.

MARIO  
(Surprised)  
Can you?

TONY  
You don't want even a fist fight? There won't be any fight.

MARIO  
I believe you! You do have magic.

TONY  
Of course, I have you. You go home and dress up.

Then tonight, I will come by for you.

MARIO  
You cannot come by. My mama...

TONY

(After a pause)  
Then I will take you to my house 

MARIO

(Shaking his head)  
Your mama...  
(Another awkward pause. Then he sees a female dummy and pushes it forward saying:)

TONY  
She will come running from the kitchen to welcome you. She lives in the kitchen.

MARIO  
Dressed so elegant?

TONY  
I told her you were coming. She will look at your face and try not to smile. And she will say: Skinny — but pretty.

MARIO  
She is plump, no doubt.

TONY

(Holding the waist of dummy's dress)  
Fat!

MARIO  
(Indicating another female dummy)  
I take after my mama; delicate boned.  
(HE kisses him)  
Not in front of Mama!  
(HE turns the dummy around as she goes to a male dummy)  
Oh, I would like to see Poppa in this! Mama will make him ask about your prospects,. if you go to church. But Poppa — Poppa might like you.

TONY  
(Kneeling to the "father" dummy)  
May I have your son's hand?

MARIO  
He says Yes.

TONY  
Gracias!

MARIO  
And your mama?

TONY  
I'm afraid to ask her.

MARIO  
Tell her she's not getting a son; she's getting rid of a son!

 

TONY  
She says Yes.

MARIO  
She has good taste.  
(HE grabs up the wedding veil and puts it on as TONY arranges the dummies)

TONY  
Maid of Honor!

MARIO  
That color is bad for Anita.

TONY  
Best man!

MARIO  
That is my Poppa!

TONY  
Sorry, Poppa. Here we go, Riff: Womb to Tomb!  
(Takes hat off dummy)

MARIO  
Now you see, Anita, I told you there was nothing to worry about.

One Hand, One Heart (Tony, Maria)

(MUSIC starts as she leaves the dummy and walks up to TONY. THEY look at each other — and the playing vanishes. Slowly, seri-ously, they turn front and, together, kneel as before an altar)

TONY  
I, Anton, take thee, Mario...

MARIO  
I, Mario, take thee, Anton...

 

TONY  
For richer, for poorer —

MARIO  
In sickness and in health...

TONY  
To love and to honor...

MARIO  
To hold and to keep...

TONY  
From each sun to each moon...

MARIO  
From tomorrow to tomorrow...

TONY  
From now to forever...

MARIO  
Till death do us part.

TONY  
With this ring, I thee wed.

MARIO  
With this ring, I thee wed.  
(The MUSIC becomes a love duet:)

TONY  
MAKE OF OUR HANDS ONE HAND, MAKE OF OUR HEARTS ONE HEART, MAKE OF OUR VOWS ONE LAST VOW: ONLY DEATH WILL PART US NOW.  
MARIO  
MAKE OF OUR LIVES ONE LIFE, DAY AFTER DAY, ONE LIFE.

 

TONY, MARIO  
NOW IT BEGINS, NOW WE START ONE HAND, ONE HEART -  
EVEN DEATH WON'T PART US NOW.  
(THEY look at each other, then at the reality of their "game." They smile tenderly, ruefidly and slowly put the dummies back into posi-tion. But even back in the world, they sing:)

TONY, MARIO  
MAKE OUR LIVES ONE LIFE, DAY AFTER DAY, ONE LIFE.  
NOW IT BEGINS, NOW WE START ONE HAND, ONE HEART,  
EVEN DEATH WON'T PART US NOW.  
(DIM-OUT)

END OF SCENE SEVEN

SCENE EIGHT

— Tonight (Ensemble)

 

(The neighborhood.  
SPOTLIGHTS picks out RIFF and the JETS, BERNARDO and the SHARKS, ANITA, MARIA and TONY against small pieces repre-senting where they are in the neighborhood. All are waiting expec-tantly for the coming of night, but for very different reasons. It is a montage which is sung)

JETS  
THE JETS ARE GONNA HAVE THEIR DAY TONIGHT.

SHARKS  
THE SHARKS ARE GONNA HAVE THEIR WAY TONIGHT.

 

JETS  
THE PUERTO RICANS GRUMBLE, "FAIR FIGHT."  
BUT IF THEY START A RUMBLE, WE'LL RUMBLE 'EM RIGHT.

SHARKS  
WE'RE GONNA HAND 'EM A SURPRISE TONIGHT.

JETS  
WE'RE GONNA CUT 'EM DOWN TO SIZE TONIGHT.

SHARKS  
WE SAID, "O.K., NO RUMPUS, NO TRICKS" -  
BUT JUST IN CASE THEY JUMP US, WE'RE READY TO MIX  
TONIGHT!

JETS, SHARKS

WE'RE GONNA ROCK IT TONIGHT,  
WE'RE GONNA JAZZ IT UP AND HAVE US A BALL. THEY'RE GONNA GET IT TONIGHT;  
THE MORE THEY TURN IT ON THE HARDER THEY'LL FALL!

JETS

WELL, THEY BEGAN IT!

SHARKS  
WELL, THEY BEGAN IT -

JETS, SHARKS  
AND WE'RE THE ONES TO STOP 'EM ONCE AND FOR ALL,  
TONIGHT.

 

ANITA  
ANITA'S GONNA GET HER KICKS TONIGHT.  
WE'LL HAVE OUR PRIVATE LITTLE MIX TONIGHT.  
HE'LL WALK IN HOT AND TIRED, SO WHAT?  
DON'T MATTER IF HE'S TIRED, AS LONG AS HE'S HOT  
TON IGHT!

TONY

TONIGHT, TONIGHT  
WON'T BE JUST ANY NIGHT,  
TONIGHT THERE WILL BE NO MORNING STAR.

 

TONIGHT, TONIGHT,  
I'LL SEE MY LOVE TONIGHT.  
AND FOR US, STARS WILL STOP WHERE THEY ARE.

 

TODAY  
THE MINUTES SEEM LIKE HOURS, THE HOURS GO SO SLOWLY, AND STILL THE SKY IS LIGHT...

 

OH MOON, GROW BRIGHT,  
AND MAKE THIS ENDLESS DAY ENDLESS NIGHT!

RIFF  
(To TONY)  
I'M COUNTING ON YOU TO BE THERE TONIGHT.  
WHEN DIESEL WINS IT FAIR AND SQUARE TONIGHT.  
THAT PUERTO RICAN PUNK'LL GO DOWN.  
AND WHEN HE'S HOLLERED "UNCLE" WE'LL TEAR UP THE TOWN!

 

MARIO  
TONIGHT,

 

TONIGHT

 

WON'T BE JUST ANY NIGHT,

 

 

TONIGHT THERE WILL BE NO MORNING STAR

 

 

 

 

 

MARIO  
TONIGHT,

RIFF  
(Simultaneously — firmly)  
SO I CAN COUNT ON YOU, BOY?  
TONY  
(Abstractedly)  
ALL RIGHT.  
RIFF  
WE'RE GONNA HAVE US A BALL.  
TONY  
(A bit impatiently)  
ALL RIGHT.  
RIFF  
(Spoken, gently)  
Womb to tomb!  
TONY  
(Spoken, regretting his impatience)  
Sperm to worm!  
RIFF  
(Sung)  
I'LL SEE YOU THERE ABOUT EIGHT...  
TONY  
TONIGHT...

BERNARDO ANITA  
WE'RE GONNA ROCK  
TONIGHT,

I'LL SEE MY LOVE TONIGHT

 

AND FOR US,  
STARS WILL STOP WHERE THEY ARE.  
IT TONIGHT!!!

WE'RE GONNA JAZZ IT TONIGHT,

THEY'RE GONNA GET IT TONIGHT —

 

TONIGHT.

 

TONIGHT...

 

TONIGHT,  
LATE TONIGHT,

 

WE'RE GONNA MIX IT TONIGHT.

 

MARIA, TONY  
TODAY  
THE MINUTES SEEM LIKE HOURS.

 

BERNARDO ANITA

THEY BEGAN IT— ANITA'S GONNA HAVE  
HER DAY,  
JETS, SHARKS  
ANITA'S GONNA HAVE THEY REGAN IT.  
HER DAY,

 

MARIO, TONY JETS  
THE HOURS GO SO  
SLOWLY, THEY BEGAN IT. AND STILL THE  
SKY IS LIGHT.

 

WE'LL STOP 'EM ONCE AND FOR ALL!  
OH MOON, THE JETS ARE GROW BRIGHT  
GONNA HAVE THEIR WAY,

AND MAKE  
THIS ENDLESS THE JETS ARE  
DAY ENDLESS GONNA HAVE  
NIGHT, THEIR DAY,

 

WE'RE GONNA  
ROCK IT  
TONIGHT!  
TONIGHT.  
TONIGHT!

 

END OF SCENE EIGHT


	8. Chapter 8

My Glee West side story ch 8

Disclaimer: I don't own Glee or West side story

 

SHARKS ANITA

 

AND WE'RE BERNARDO'S  
THE ONES GONNA HAVE  
HIS WAY  
TO STOP 'EM TONIGHT — ONCE AND FOR  
ALL!  
TONIGHT.

 

THE SHARKS TONIGHT — ARE GONNA  
HAVE THEIR WAY,

THE SHARKS THIS VERY ARE GONNA  
NIGHT,  
HAVE THEIR DAY,

WE'RE GONNA WE'RE GONNA  
ROCK IT ROCK IT  
TONIGHT — TONIGHT TONIGHT!

 

SCENE NINE

(Under the highway.  
A dead end: rotting plaster-and-brick walls and mesh zvire fences. A street lamp.  
It is nightfall. The almost-silhouetted GANGS come in from separate sides: climbing over the fences or crawling through holes in the walls. There is silence as they fan out on opposite sides of the cleared space. Then BERNARDO and DIESEL remove their jackets, handing them to their seconds: CHINO and RIFF)

BERNARDO  
Ready.

CHINO  
Ready!

DIESEL  
Ready.

RIFF  
Ready! Come center and shake hands.

BERNARDO  
For what?

RIFF  
That's how it's done, buddy boy.

BERNARDO  
More gracious living? Look: I don't go for that pretend crap you all go for in this country. Every one of you hates every one of us and we hate you right back. I don't drink with nobody I hate, I don't shake hands with nobody I hate. Let's get at it.

RIFF  
Okay.

BERNARDO

(Moving toward CENTER)  
Here we go.

 

(DIESEL begins to move toward him. There are encouragements called from each side. The "fair fight" is just beginning when:)

TONY  
Hold it!  
(HE leaps over a fence and starts to BERNARDO)

RIFF  
Get with the gang.

TONY  
No.

RIFF  
What're you doing?

BERNARDO  
Maybe he has found the guts to fight his own battles.

TONY  
(Smiling)  
It doesn't take guts if you have a battle. But we haven't got one, 'Nardo.  
(HE extends his hand for BERNARDO to shake it. BERNARDO knocks the hand away and gives TONY a shove that send him sprawling)

BERNARDO  
Bernardo.

RIFF  
(Quiet, strong)  
The deal is a fair fight between you and Diesel.  
(To TONY, who has gotten up)  
is  
Get with the gang.  
(During the next, BERNARDO flicks TONY'S shirt, pushes his shoulder, pinches cheek)

 

BERNARDO  
(To TONY)  
I'll give you a battle, Kiddando.

DIESEL  
You've got one.

BERNARDO  
I'll take pretty-boy on as a warm-up. Afraid, pretty boy? Afraid, chicken? Afraid, gutless?

RIFF  
Cut that —

TONY  
I don't want to, Bernardo...  
(Meaning "Want to let go")

BERNARDO  
I'm sure.

TONY  
Bernardo, you've got it wrong.

BERNARDO  
Are you chicken?

TONY  
You won't understand!

BERNARDO  
What d'ya say, chicken?

ACTION  
Get him, Tony!

BERNARDO  
He is chicken.

DIESEL  
Tony —

 

A-RAB  
Get him!

TONY  
Bernardo, don't.

BERNARDO  
Don't what, pretty little chicken?

RIFF  
Tony, don't just stand 

BERNARDO  
Yellow-bellied chicken —

RIFF  
TONY!

ACTION  
Murder him!

SNOWBOY  
Kill him!

TONY  
DON'T PUSH ME!

BERNARDO  
Come on, you yellow-bellied Polak bas —

The Rumble 

 

(HE never finishes, for RIFF hauls off and hits him. Immediately,  
the two GANGS alert and the action goes into dance form. As  
BERNARDO reels back to his feet, he Punches Riff.  
RIFF punches Bernardo THEY jockey for position, feinting, dueling; the two GANGS shift position, now and again temporarily obscuring  
the fighters. TONY tries to get between them)

 

RIFF  
Hold him!  
(DIESEL and ACTION grab TONY and hold him back. The fight continues. RIFF loses is knocked over and is helped up by another Jet. At last, he has BERNARDO in a position where it seems that he will be able to run him through. TONY breaks from DIESEL and moves to stop RIFF, crying:)

TONY  
Riff, don't!  
(RIFF hesitates a moment; the moment is enough for BERNARDO  
whose hand goes forward with a driving motion.  
into RIFF. TONY leaps forward to catch RIFF. HE breaks his fall. A free-for-all has broken out as it fades to black when the lights come back Bernardo is gasping for breath. Riff lay unconscious though breathing fine. The cops come in and gangs clear off. The cops call and ambulance for two people. Tony stands starting at them.)

THE CURTAIN FALLS


	9. Chapter 9

My Glee west side story chapter 9  
Authors note: this chapter might be a little short

Disclaimer: I don't own Glee or West side story.

Everyone claps for a very well done play. Mike and Mercedes give Artie a thumbs up from audience. On stage after curtains fall after everyone has taken a bow. Artie,Blaine and Kurt share 3 way high five. Puck and Sam sneak up behind the 3 to surprise them into group hug. Rachel sighs across the stage. Puck notices so after quick group hug he said," Hey Rachel want to hang later at my place."

Rachel said," Sure Noah."

That evening at Puck's house he offers Rachel an alocholic drink she eagerly gulps it down then asks for another. He allows the second but tells her no to a third. As frankly she was tiny. He took her home. He was smart enough now not to make same mistakes he made with Quinn. 

The next morning Rachel's still a little buzzed so she has Finn take her to school. At school Rachel is clearly still kind of drunk. As she kept touching Finn. He mostly just ignored it. Sadly ms.Pilsbury caught her and reported her to principal Figgins for lude behavior on school grounds. Rachel had gotten suspended till day after sectionals. 

The end.


End file.
